Let the work speak for itself.
Steel is such a nice material to use. It can move. It's terribly easy, you just stick it or you cut it off, and bang! you're there: it's so direct. I think Manet was very direct, he didn't prepare his canvases like Courbet, he just put paint straight on and it's very like that with steel.
I would like to continue being radical. As you get older, some of the world catches up and it's passed you. In the '60s you were on the crest of a wave because you were part of the wave. I don't want be a stick in the mud and do the same thing as I did last year, I want to do something different and see what happens.
Scale is very, very important, like the scale of a person is very important. It's to do with the size of our space, the fact they are big sculptures, they are still human scale.
But I don't think that sculpture belongs in everyday life like a table does, or like a chair.
Art comes from art: I remember going to the Matisse show and seeing how Matisse had taken one of his own paintings, worked from it and transformed it, and that had led on to the next one and the next.
So, in other words, how you respond to a sculpture, how a viewer sees the sculpture, is vital.
Early One Morning takes time and, I mean, all things like that I felt were very important.
